Gianni Colombo

Tyler Cann

A furtive press on one of the metal levers at the bottom of Gianni Colombo’s Superficie in Variazione (Surface in Variation), 1959, would have rewarded you with an uncanny displacement of your touch: a dimple appearing on a shaggy white surface in tandem with the pressure of your finger. In a contemporary culture awash with exhortations to participate, such a simple …

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